Martin Heidegger, “Die Kunst und der Raum” in Aus der Erfahrung des Denkens, Band 13 of Gesamtausgabe, (Frankfurt: Vittrorio Klostermann, 1983), 203–10. translated by Charles H. Seibert as “Art and Space” in Man and World 6, no. 1 (1973): 3–6; henceforth reference will be to “Art and Space” plus page number, English preceding the German. While a direct encounter with Heidegger’s text will be the concern of the final part of these notes, nonetheless the opening, both in terms of the interpretation of Francesco Mosca and Bernini as well as in the terminology deployed, needs to be understood as rehearsing that encounter. While there is a considerable secondary literature on Heidegger and art, there is little on sculpture. The one real exception is Andrew J. Mitchell, Heidegger among the Sculptors (Stanford: Stanford University Press, 2010). Mitchell’s work is an engagement with Heidegger’s actual interpretations of the work of specific sculptors. The importance of Mitchell’s book needs to be mentioned. However, the project here is different. At stake in these notes is the possibility that works of sculpture—in how they work as works as art—may provide the basis for critical engagement with Heidegger’s writing on sculpture, namely, his “Art and Space.” Other central works on Heidegger and space are Didier Franck, Heidegger et le problème de l’éspace (Paris: Editions de Minuit, 1986), Jeff Malpas, Heidegger’s Topology: Being, Place, World (Cambridge, MA: MIT Press, 2006) and Edward S. Casey, The Fate of Place (Berkeley: University of California, 1997). In regards to the latter, see esp. 243–84. While all of these texts offer invaluable formulations of the general questions of both space and place, once again the project here concerns the particularity of the artwork and its presence as a philosophical possibility within Heidegger’s writings on sculpture as a generality.

Martin Heidegger, “Die Kunst und der Raum” in Aus der Erfahrung des Denkens, Band 13 of Gesamtausgabe, (Frankfurt: Vittrorio Klostermann, 1983), 203–10. translated by Charles H. Seibert as “Art and Space” in Man and World 6, no. 1 (1973): 3–6; henceforth reference will be to “Art and Space” plus page number, English preceding the German. While a direct encounter with Heidegger’s text will be the concern of the final part of these notes, nonetheless the opening, both in terms of the interpretation of Francesco Mosca and Bernini as well as in the terminology deployed, needs to be understood as rehearsing that encounter. While there is a considerable secondary literature on Heidegger and art, there is little on sculpture. The one real exception is Andrew J. Mitchell, Heidegger among the Sculptors (Stanford: Stanford University Press, 2010). Mitchell’s work is an engagement with Heidegger’s actual interpretations of the work of specific sculptors. The importance of Mitchell’s book needs to be mentioned. However, the project here is different. At stake in these notes is the possibility that works of sculpture—in how they work as works as art—may provide the basis for critical engagement with Heidegger’s writing on sculpture, namely, his “Art and Space.” Other central works on Heidegger and space are Didier Franck, Heidegger et le problème de l’éspace (Paris: Editions de Minuit, 1986), Jeff Malpas, Heidegger’s Topology: Being, Place, World (Cambridge, MA: MIT Press, 2006) and Edward S. Casey, The Fate of Place (Berkeley: University of California, 1997). In regards to the latter, see esp. 243–84. While all of these texts offer invaluable formulations of the general questions of both space and place, once again the project here concerns the particularity of the artwork and its presence as a philosophical possibility within Heidegger’s writings on sculpture as a generality.)| false
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To this end, see Andrea Bolland, “Desiderio and Diletto: Vision, Touch and the Poetics of Bernini’s Apollo and Daphne,” The Art Bulletin 82, no. 2 (June 2000). I am indebted to Bolland’s article for a great deal of the background material informing these notes on Bernini.

To this end, see Andrea Bolland, “Desiderio and Diletto: Vision, Touch and the Poetics of Bernini’s Apollo and Daphne,” The Art Bulletin 82, no. 2 (June 2000). I am indebted to Bolland’s article for a great deal of the background material informing these notes on Bernini.)| false
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Martin Heidegger, “Letter on Humanism” in Martin Heidegger: Basic Writings, 259–60; originally published as “Brief über den Humanismus,” in Band 9 of Gesamtausgabe (Frankfurt: Vittorio Klostermann, 1976), 358.

Martin Heidegger, “Letter on Humanism” in Martin Heidegger: Basic Writings, 259–60; originally published as “Brief über den Humanismus,” in Band 9 of Gesamtausgabe (Frankfurt: Vittorio Klostermann, 1976), 358.)| false
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Martin Heidegger, “The Origin of the Work of Art,” in Martin Heidegger: Basic Writings, edited and translated by David Farrell Krell (San Francisco: Harper Collins, 1993), 199; originally published as “Der Ursprung des Kunstwerkes,” in Holzwege, Band 5 of Gesamtausgabe, (Frankfurt: Vittorio Klostermann, 1977), 65.

Martin Heidegger, “The Origin of the Work of Art,” in Martin Heidegger: Basic Writings, edited and translated by David Farrell Krell (San Francisco: Harper Collins, 1993), 199; originally published as “Der Ursprung des Kunstwerkes,” in Holzwege, Band 5 of Gesamtausgabe, (Frankfurt: Vittorio Klostermann, 1977), 65.)| false
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